Unframed More Art

Diamond Bezel and Dial A stainless steel and diamond-set, screw down case back Signed: case, dial and movement Stainless steel Jacob & Co. folding clasp closure Size note: 40 mm Pi...

medium: found aluminum cans, wire Available in multiple color/finish options (inquire with gallery). Installations are made to order, sizes and shapes of butterflies vary. Unique, ...

The portraits, loaded with symbolic imagery, gaze out at the viewer, with a variety of intensities and emotions. This is to say, each woman has a story, which may not be directly evi...

Playing with the interaction between positive and negative space, strong colors on neutral backgrounds, Canadian artist Virginie Schroeder creates pop art portraits and iconic pop cu...

Harrison Gilman's large original artworks begin with a layer of fast-paced gestural abstraction followed by organic shapes and geometric structures. Some of his paintings remain in t...

This framed silk brocade tapestry is one half of a magnificent Qing-dynasty chair panel, or chair strip. Because traditional Chinese seating was not upho...

Titan Fine Art presents this exquisite oil on panel portrait depicting a handsome young gentleman in an exuberant black damask doublet. The pose, with one hand holding gloves and the other akimbo, was one that was well-established for gentleman of the upper echelons of society by the time this work was painted. The principle governing portraits at this time was the recording and defining in visual terms of the position of a sitter in society. In addition to brilliant and complex symbols of luxury, they often contained many symbolic elements too; the inclusion of gloves was often used in portraits that celebrated a betrothal as in ancient times gloves were used to seal a marriage contract. The extraordinary costume of a black shimmering doublet, the brilliant white reticella ruff, and the cuffs edged with lace were immensely costly… this attire proclaims to every onlooker that this is a superior being. The rendering of the reticella lace ruff is exquisite and the artist has recorded the design that runs through the black damask fabric with meticulous attention to detail. The preservation of this black pigment is remarkable considering the age of the work. Black pigments are especially vulnerable to fade and wear over time partly due to environmental condition but also from unprofessional cleaning. This work is an exquisite example from the period. According to the inscription in the upper right, the gentleman was in his 22nd year of age in 1624. The coat of arms, which is displayed without a crest, may be ‘blazoned’ in the language of heraldry, as: Sable on a Chevron between in chief two Roundels and in base a Billet [or possibly Square] Or three Martlets Sable. In plainer English this means a black (Sable) background, spanned by a gold (Or) chevron, above which are two golden solid circles (Roundels), and below which is a gold rectangle (Billet); on the chevron are three small black birds (Martlets). Martlets are a stylised form of heraldic bird, believed to be based on the swift, which are conventionally drawn with small tufts instead of feet. In Continental Europe it is also conventional for them to be drawn without beaks, as appears to be the case here. The birds in this instance also have a vaguely duck-like appearance. Five families have been identified with very close armorial bearings to the one in our portrait. They are the (van) Houthem’s (of Brabant), the Prévinaire’s (of Flanders and Holland), and the Proveneer’s (of Liège) and it must be noted that the locations of these families also fit with the painting’s Flemish origins. However the French Grenières’s (of Île-de-France) and the Jallot’s (of Normandy) are the next closest matches and plausible matches, as Frans Pourbus had settled in Paris just a few years before our portrait was painted. This painting has been assessed by a professional conservator prior to going on sale, and as thus, it can be hung and enjoyed immediately. Frans Pourbus the Younger...

Pablo Picasso Fish Subject (Sujet poisson), 1952 Ceramic pitcher, made of red earthenware clay, partially glazed and painted in black and white. Size 14 x 23 cm Edition: From the ed...

Edition of 250 copies including 8 original lithographs and many b/w illustrations of graphic works by Louis Legrand. One of 200 copies on Papier Vélin. Original editorial softcover ...

"Lipse" is a standout piece from Elizabeth Art Candy’s Fake Gum’s series, where her signature 3D mosaic technique transforms one of her most iconic subjects—the lips—into a playful, ...

Adolphe Jean Lavergne (1863-1928), Pecheur, c. 1900. Brown patinated bronze with rectangular cast plinth on a green marble base (3 cm high), total height with hinge 37 cm, width 9 cm, depth 8 cm, weight 2.9 kg, signed “Lavergne” on the plinth. - Base with old drilling and a few oxidized areas, patina occasionally rubbed, somewhat stained in the folds. - Full of anticipation - This bronze is the larger, highly detailed version of the fisherman that made Parisian artist Adolphe Jean Lavergne famous. In preparation for fishing, the boy prepares his rod before heading out to sea. The attachment of the iron ring and the rope behind him suggest a quay wall and a boat moored there. However, the depiction is entirely focused on the actual action of the young fisherman: With equal skill and concentration, he bends a hook to connect it to the fishing line. The contrast with his casual clothing, the loose-fitting trousers, the open shirt with its "wild" folds, and, last but not least, the sun hat boldly perched on his neck, reinforces the impression of the attentive care with which he goes about his work. His gaze makes him appear absorbed, as if he has forgotten the world around him and yet he is visibly filled with anticipation of fishing. GERMAN VERSION Adolphe Jean Lavergne (1863-1928), Pecheur, um 1890. Braun patinierte Bronze mit rechteckiger gegossener Plinthe auf grünem Marmorsockel (3 cm Höhe), Gesamthöhe mit Angel 37 cm, Breite 9 cm, Tiefe 8 cm, Gewicht 2,9 kg, auf der Plinthe mit „Lavergne“ signiert. - Sockel mit alter Bohrung und wenigen oxidierten Stellen, Patina mitunter berieben, in den Falten vereinzelt etwas fleckig. - Voller Vorfreude - Die Bronzefigur ist die größere äußerst detaillierte Ausführung des Fischers, mit dem der Pariser Künstler Adolphe Jean Lavergne bekannt geworden ist. In Vorbereitung auf das Fischen präpariert der Junge die Angel...

The Way Home is an original abstract painting by Janet Keith. The Way Home is an expressive, gestural painting evoking a feeling of movement, light and fresh air. The painting is bui...

A fine impressionist marine painting of a harbor on Cape Ann, Massachusetts by American artist Harry Aiken Vincent (1867-1933). Vincent was Born in...

Futura NYC 1988: A rare 1980s Futura 2000 illustrated & designed announcement card published on the occasion of: "Observations of an Underground Civilization" at 51X Gallery from Ma...

In my paintings, I chose the main character Gestalt wooden figurine of a man) and trying to "animate" his\her

A fine impressionist painting of boats by a bridge in Paris by French artist Claude Montier (b. 1900). Oil on canvas, signed lower right, a...

Ed Ruscha A Few Palm Trees 1971 (1st edition): Hand-signed 1st edition of Ed Ruscha's A Few Palm Trees. The highly collectible Ed Ruscha artsit book featuring photographs of thirteen...

This magnificent oil on panel portrait, presented by Titan Fine Art, is a splendid example of the sumptuous female portraits that were painted for members of the upper echelons of society during the early part of the 1600’s. The artist has rendered this portrait with meticulous attention to detail and the surface effects of the fine materials. The elaborate lace coif and cuffs are painstakingly delineated, as is the bold black damask, and sumptuous gold decoration of her skirt and stomacher, which is wonderfully preserved and quite remarkable considering the age of the work and the fact that darker pigments are particularly vulnerable to fading and wear. This work with its spectacular depiction of costume is of absolute quality, it can be rated as one of the best works in the artist’s oeuvre and as such it is an important and splendid example of Dutch portraiture. The Dutch Golden Age of painting was a period in Dutch history, roughly spanning the 17th century, in which Dutch trade, science, military, and art were among the most acclaimed in the world. Dutch explorers charted new territory and settled abroad. Trade by the Dutch East-India Company thrived, and war heroes from the naval battles were decorated and became national heroes. During this time, The Dutch Old Masters began to prevail in the art world, creating a depth of realistic portraits of people and life in the area that has hardly been surpassed. The Golden Age painters depicted the scenes that their discerning new middleclass patrons wanted to see. This new wealth from merchant activities and exploration combined with a lack of church patronage, shifted art subjects away from biblical genres. Dress was a key component in portraits, and the exuberant attire reiterates the incredible wealth of this woman. The sitter will have visited the artist’s workshop and inspected examples on display. They would have chosen the size and the sort of composition and on that basis negotiated the price – which would have also been determined by the complexity of the clothing and the jewels that were to be depicted, and by the materials to be used. When all was considered, this portrait would have cost the sitter (or her husband) a substantial sum. The colour black was regarded as humble and devout yet at the same time refined and sophisticated and the most expensive colour of fabric to dye and to maintain. Citizens spent fortunes on beautiful black robes. Such uniformity must also have had a psychological side-effect and contributed to a sense of middle-class cohesion; the collective black of the well-to-do burgess class will have given its members a sense of solidarity. The colour was always an exciting one for artists and when this portrait was painted there were at least fifty shades of it, and as many different fabrics and accoutrements. Artists went to great lengths to depict the subtle nuances of the colour and the fabrics and textures and how they reflected light and it was an ideal background against which gold and crisp white lace could be juxtaposed to dramatic effect. The sitter is either a married women or a widower as is evident by the clothing that she wears and the position, toward her right, it is highly likely that this portrait was once a pendant that hung on the right-hand side of her husband’s portrait as was convention at the time. She wears a vlieger which was a type of sleeveless over-gown or cape worn by well-to-do married women in the late 16th and early 17th centuries. Variations with short sleeves or high shoulder rolls are known. Sometimes sleeves were attached with aiglets, and often slits were made to allow belts or the hands to pass through. Three-piece vlieger costumes of this kind were standard items of clothing in portraits of the women of the civic elite in the period 1600-40 and was a variant of the Spanish ‘ropa’ and served as a trademark of well-to-do married burgher women. Girls and unmarried woman, including beguines, wore a bouwen (a dress with a fitted bodice and a skirt that was closed all round) instead. This clear distinction between apparel for married and unmarried women is clear not only from inventories and trousseau lists, but also from contemporary sources such as the Dutch Spanish dictionary published by Juan Rodrigues in 1634. In it, a bouwen is described as a ‘ropa de donzella’ (over-gown worn by a virgin) and a vlieger as a ‘ropa de casada’ (overgown worn by a married woman). It is striking how few women are depicted wearing a bouwen, unless they are part of a group, family or children’s portrait and it can therefore be assumed that independent portraits of unmarried women were seldom commissioned. It is also believed that the clothing worn in these portraits existed and were faithfully reproduced when cross-referenced with the few exact documents. These sources also demonstrate that clients wanted their clothing to be depicted accurately and with this in mind precious garments and jewels were often left in the painter’s studio. The prominent white lawn molensteenkraag (or millstone ruff) is held up by a wire supportasse and was reserved only for the citizens that could afford this luxurious item that often required 15 meters of linen batiste. The fabulous wealth of this sitter is also evident by the elaborate lace coif and cuffs which have been exquisitely depicted; lace was often literally copied by artists in thin white lines over the completed clothing. The gold bracelet with jewels is a type that was evidently fashionable as it is seen in a number of portraits during the 1610s and 1620. Clothing and jewellery were prized possessions and were often listed in inventories of estates and passed down from generation to generation. There were a great number of jewellers of Flemish origin working at all the courts and cities of Europe, competing with the Italians, and then the French, adapting themselves to the tastes and positions of their patrons and the raw materials available in the country where they worked. The fashion for jewels “in the Flemish style” succeeded that of the Italian style. Cornelis van der Voort, who was probably born in Antwerp around 1576, came to Amsterdam with his parents as a child. His father, a cloth weaver by trade, received his citizenship in 1592. It is not known who taught the young Van der Voort to paint, but it has been suggested that it was either Aert Pietersz or Cornelis Ketel. On 24 October 1598 Van der Voort became betrothed to Truytgen Willemsdr. After his first wife’s death he became betrothed to Cornelia Brouwer of Dordrecht in 1613. In addition to being an artist, Van der Voort was an art collector or dealer, or both. In 1607 he bought paintings from the estate of Gillis van Coninxloo, and after an earlier sale in 1610 a large number of works he owned were auctioned on 7 April 1614. Van der Voort is documented as appraising paintings in 1612, 1620 and 1624. In 1615 and 1619 he was warden of the Guild of St Luke. He was buried in Amsterdam’s Zuiderkerk on 2 November 1624, and on 13 May 1625 paintings in his estate were sold at auction. Van der Voort was one of Amsterdam’s leading portrait painters in the first quarter of the 17th century. Several of his group portraits are known. It is believed that he trained Thomas de Keyser (1596/97-1667) and Nicolaes Eliasz Pickenoy (1588-1650/56). His documented pupils were David Bailly (c. 1584/86-1657), Louis du Pré...

This lime green and grey abstract paper artwork titled "Illusionary Paper Series “Frosted Lemon” III" is an original artwork by Daria Aksenova made of hand cut, suspended, layered colored paper. This piece measures 10"h x 10"w x 1"d framed. Best known for creating dreamscape shadow box art...

An exceptional, fine and impressive antique Austro-Hungarian silver spice tower; This beautiful box is fitted with a hinged door and is fully hallmarked The square shaped foot is or...

This is a revolving colorful kiddush cup with a signed and numbered Agam op art print in it. this includes the base tray. There is no cup insert so it is more of a sculptural piece ...

Info artist : Van Beers studied at the Academy in Antwerp. In 1873, he undertook a trip to London with Alexandre Struys. In 1878, Van Beers went to Paris where he worked in the stud...

A fine landscape of birch trees in the Adirondacks by American artist Paul Bernard King (1867-1947). King was born in Buffalo, New York, and after becoming an established printer, went on to study at the NY Art Students League with Henry S...

Ellen Williams Sweet Pea II Original Drawing Coloured pencil on A4 150gsm paper Image Size: H 29.7cm x W 21cm Signed Sold Unframed (Please note that in situ images are purely an indi...

A vintage, one of a kind hand painted wooden sign ca. 1950s or 1960s for Coca-Cola Company. Beautifully painted and rendered image of a classic cola filled soda glass in hand reading...

Original art by Daria Kusto. Acrylic , acrylic spray on canvas Shipped rolled in a tube, From Spain.

US Navy veteran Randy Morales fuses nostalgia and graphic expressionism within his street-pop artworks. The choice of subjects within his artworks is strongly influenced by his exper...

Korzhik on horseback in the apocalypse, 150x70 cm, canvas, oil, mixed media

The colorful abstract artworks of Romanian artist Alex Voinea are inspired by experiments with paint poured over vibrating surfaces, such as speakers at full volume. Alex Voinea collaborates with chance to evoke the energy of the moment. Projections of paint, splashes of pure material, and streams of color are whiplash expressions of the temporary in his modern artworks. Voinea captures and freezes, in an instant, an imaginary and expressive burst of color that electrifies a space. This one-of-a-kind diptych measures a combined 35 inches high and 102 inches wide. It is comprised of two 35-inch tall by 51-inch wide canvases. It is a fluorescent abstract composition painted with acrylic paint on canvas by Alex Voinea. This artwork is signed and titled on the back. It does not require framing. This original painting is double-wired and may be installed vertically or horizontally. Free local Los Angeles area delivery. Affordable Continental U.S. and worldwide shipping are available. Provenance: Artplex Gallery. A certificate of authenticity issued by the art gallery is included with this original work. Alex Voinea was born in Romania in 1973. Leaving Romania after the revolution in 1989, he moved to Italy. Voinea's saturated abstract paintings are a rush of adrenaline and inspire liveliness in the spaces they are displayed. Although active, his work also finds balance and harmony. The challenge of each surface inspires Voinea and his studio is an incubator of color and energy. "I am interested in the physics of materials and the purity of pigments in their various states and how they respond to the different circumstances and situations that I create. With my work I try to convey the feeling of being immersed in a universe where color is the protagonist." Voinea now lives in Barcelona. His abstract paintings have been shown in varying international art hot spots, including Brussels, Paris, London, Milan, Amsterdam, New York, and Los Angeles. REPRESENTATION Artplex Gallery Los Angeles SOLO EXHIBITIONS 2024 Artplex Gallery, Los Angeles, CA, USA 2018 Alex Voinea, MM Gallery, Brussels, Belgium 2010 Galería Dharmakaya, Barcelona, Spain 2011 “Abstractos de Sitges”, Galería A037, Sitges, Spain 2011 Biennale a Confronto, Galería San Vidal, Venecia, Italy 2009 “Animales”, Galería A037, Sitges, Spain GROUP EXHIBITIONS 2021-23 Artplex Gallery, Los Angeles, CA 2019 Winter Collective, MM Gallery, Brussels 2018 “Carrement Abstrait”, MM Gallery, Brussels Summer Collective, MM Gallery, Brussels Collective, Maze Gallery, London, UK 2017 “Abstraction Group Show”, MM Gallery, Brussels, Belgium “VInt” ARTistes”, Fundación Pinnae, Vilafranca de Pendes, Spain 2016 Recicl’arte 2016, Drap-art y SAGA, Edificio Miramar, Sitges, Spain “Art al Vidre”, Fundación Pinnae, Vilafranca de Pendes, Spain “Naturalezas”, Museo Gustavo de Maeztu, Navarra...

The lake house - Landscape Wiehler Handmade Gobelin Tapestry by Maestro Vera Petrova - Sapundjieva, Bulgarian artist 1912 - 1985 About the artwork TECH...

A large beautiful still life with flowers in a blue vase by American artist Owen Cullen Yates (1866-1945). Yates was born in Bryan, Ohio and studied in New York City with William Mer...

Late 19th-Century American Gilt Frame with Ornamental Acanthus Details This impressive 1880s American giltwood frame exemplifies the richly decorative style embraced by the Barbizon ...

KAWS EXPOSED: KAWS Artist Monograph, 1st edition, 1999: KAWS Exposed 1999: A highly collectible & much sought after photo-book of KAWS 1990’s street art - this publication uniquely stands out as the artist’s first monograph; featuring brilliant photos of 31 of KAWS’ ‘augmented’ posters – the original phone-booth and bus-shelter posters that would first put the artist on the map. Cover image: KAWS Running Chum. Softcover; offset printed artist book. 30+ pages. English. 6 x 9 inches. A fine impression in very good overall vintage condition. Unsigned from an edition of 2000. Published Colette Paris, 1999. More on KAWS: KAWS is an American graffiti artist and designer known for his toys, paintings, and prints. Born Brian Donnelly on November 4, 1974 in Jersey City, NJ, KAWS graduated with a BFA from the School of Visual Arts in New York and went on to work in animation. “When your whole art is based on the lettering you choose, you kinda figure out what ones work together. I just liked the shapes of the k, a, w, s,” he explained of his moniker. Having started as a graffiti artist in New York in the early 1990s, KAWS began reworking advertisements in his distinctive style. Pop Art and culture permeate his cartoonish Companion series of figurines, which bear a resemblance to the works of Takashi Murakami. KAWS worked together with Nike in 2017 to produce an Air Jordan 4 shoe and has done multiple collaborations with the clothing brand Uniqlo, continuing to blur the boundaries between fine and commercial art. The artist is also known for his large scale public installations, such as 2019’s KAWS: Holiday which was installed in the Hong Kong harbor during Basel Hong Kong. In 2019, THE KAWS ALBUM (2005) sold at auction for a record $14.8 million, breaking his previous record of $2.7 million which was set in 2018. This work is a take on the Beatles' famous 1967 album cover for Sgt. Pepper's Lonely Hearts Club Band, but instead replaced with characters from The Simpsons with the artist's signature Xs drawn across their eyes and skull. After years in the industry, KAWS gained approval from his peers in the street art world and more recently prestige from the museum and gallery worlds. Today, his work can be found in the collections at the High Museum of Art in Atlanta, the Modern Art Museum of Fort Worth, and the Rosenblum Collection in Paris. KAWS currently lives and works in Brooklyn, NY. Related Categories: KAWS 1999...

Sequential blinking light sculpture by contemporary artist David Szfranski. Blanket Wood Substrate Lights Electronic Blinking mechanism. Box 9"x 6" x 5.5" The sculpture has a hypn...

Presented by Titan Fine Art, this painting formed part of a historic collection of an English aristocratic family, Lord and Lady Sandys at their magnificent baroque and Regency Grade-I listed family home, Ombersley Court. The house was among the most fascinating survivals of its kind in this country. The atmospheric interiors were distinguished above all for the works of art associated with two key moments in national history. The collection was acquired or commissioned over five centuries and remained at Ombersley Court until its recent sale, the first in 294 years. This portrait hung in the Grand Hall. This exquisite grand manner work is an evocative example of the type of portrait in vogue during a large part of the seventeenth and eighteenth centuries. The artist has depicted an elegant lady, three quarter length and seated on porch with a luxurious crimson swag curtain by her side. The clothing – known as “undress” at the time, consists of red silk fastened at the front and sleeves by large gold and diamond jewels over a simple white chemise. In her lap she holds a blue wrap and in her other hand, at her chest, she clutches the end of a sheer gauzy scarf that has been draped around her body with the other end a type of headdress – this type of sheer scarf was often employed by Wissing in his portraits. The classical architecture signifies cultivation and sophistication and the luxurious swag curtain is a signifier of wealth. The portrait can be dated to circa 1680 based on the sitter’s attire, the “hurluberlu” hairstyle, and other portraits by Wissing using the same formula. This oil on canvas portrait has been well cared for over its life, which spans almost 350 years. Having recently been treated to remove an obscuring discoloured varnish, the finer details and proper colour can now be fully appreciated. Once owned by Evesham Abbey, the manor of Ombersley was acquired by the Sandys family in the early 1600s, when Sir Samuel Sandys, the eldest son of Edwin Sandys, Bishop of Worcester and later Archbishop of York, took a lease on the manor, before receiving an outright grant in 1614. The present house, Ombersley Court, dates from the time of Samuel, 1st Lord Sandys, between 1723 and 1730. The house itself is a fine example of an English Georgian country house set in rolling countryside and surrounded by Wellingtonias, planted to commemorate the Battle of Waterloo by Arthur Hill, 2nd Baron Sandys, who played a distinguished part in the battle and was one of the Duke of Wellington’s aides de camp. The Duke also stayed in the house and in the Great Hall, was the Waterloo banner which was brought to the house by Sir Arthur Hill, aide-de-camp to the Duke of Wellington, who succeeded his mother, the Marchioness of Downshire as 2nd Lord Sandys. Further Waterloo memorabilia are kettle drums from battle. The family had a strong tradition of military and political service, dating back to the 17th century, and this was also reflected in the fine collection of portraits and paintings in the house. In short, Ombersley represented a vital aspect of British history. The house and more especially the collection were of the greatest historical importance. Houses that have remained in the possession of the same family for as many as three centuries have become increasingly rare. Through this portrait, collectors have a chance to acquire a piece of British history and an evocative vestige of a glittering way of life, which is now gone. Much of the attractiveness of this portrait resides in its graceful manner and the utter beauty of the youthful sitter. Presented in a beautiful carved and gilded period frame, which is a work of art in itself. Willem Wissing was a Dutch artist who enjoyed a solid artistic training at The Hague under Arnold van Ravesteyn (c.1650-1690) and Willem Dougijns (1630-1697). He came to London in 1676 and most probably joined the studio or Sir Peter Lely as an assistant that same year. After Lely’s death in 1680 he effectively took over his business and he scaled the heights of patronage with extraordinary ease, creating an independent practise in 1687, and painted for very important aristocratic patrons. King Charles II was so impressed by a portrait Wissing painted of his son, the Duke of Monmouth, in 1683 that he commissioned his own portrait and that of his Queen Catherine...

Size note: 40 mm Pioneering: Jacob & Co. has a well-deserved reputation for breaking new ground in high watchmaking, creating complications and combinations of complications that ar...

Nick Thomm 'After Dark' (Orange) 69cm x 92cm (27"×36″) Limited Edition of 125 Hand Signed and Numbered #76 Archival Pigment Print on Hahnemühle 308gsm Fine Art Paper. Condition: NE...

Very rare. From part of a limited edition bound catalog produced by Galleria Flaviana on the occasion of Lucio Fontana's exhibition in 1966, during the artist's lifetime. There are t...

Extraordinary garden torch with one burner insert on an untreated oak spot. If the spot is set up outside, she develops a gray patina. Customization possible and designed in 2010. Al...

Magenta and white abstract contemporary concentric oval shaped painting by Houston, TX artist David Hardaker. Signed, titled, and dated by the artist on the reverse. Artist Statemen...

Marlene Hoffman, Galleria 70 Handmade in Columbia. El Clervo y el Torro Tapestry. Bears gallery label verso and signed with initials on front in weave, MH. Dimensions: Height: 82 inches X Width: 82 inches. (size is approximate label has 2.15 X 2.15 meters) Hand made, hand woven horse hair and wool spectacular textile wall hanging by pioneering woman artist and art dealer of Latin America art, Marlene Hoffmann. It consists of a horsehair design handwoven onto a wool handmade back. (this is a sort of tapestry, not the Aubusson or Gobelin type but more of a 3D sculptural wall piece.) She is considered a pioneer in the field of Colombian textile art, in company with Olga de Amaral and Stella Bernal. She owned and directed an influential gallery on Bogota Colombia for many years. She is on the Metropolitan Museum in NYC timeline of world art. In the 1960s, Pop Art inspired artists. Gloria Valencia de Castaño invented and that invited designers to show what fashion would be like in the year 2000, inspired by masters of Colombian art, such as Enrique Grau, Alejandro Obregón, Felisa Burstyn, Cecilia Porras, Omar Rayo and David Manzur...

Nick Thomm - ONYX - Dusk (XL SIZE 36" x 48"). Limited Edition #15 of 25. Hand Signed & Numbered. Archival Pigment Print on Hahnemühle 308gsm Fine Art Paper. Condition: NEW - Unopene...

Paul Dubois (1829 Nogent-sur-Seine - 1905 Paris), Florentine singer, 1865. Light brown patinated bronze with cast round plinth mounted on a square marble base (3.5 cm high). Total height 53 cm. Bronze dimensions: 49.5 cm (height) x 20 cm (length) x 10 cm (width), weight 5.6 kg. Inscribed on the plinth "P.[aul] DUBOIS", dated "1865", with the foundry's mark "F. BARBEDIENNE FONDEUR" and the signet "REDUCTION MECANIQUE A. COLLAS". - Patina very occasionally darkened, lute with loss of one tuning peg, otherwise in excellent condition. - The renaissance of the Renaissance - The bronze is a precisely executed and masterfully cast contemporary reduction of Paul Dubois 155 cm tall masterpiece "Florentine Singer", which is exhibited in the Musée d'Orsay and for which the artist was awarded the Medal of Honor at the Paris Salon in 1865. The work acted as a beacon, and was followed by a plethora of depictions of juveniles. Inspired by Donatello and Luca della Robbia, but also by painters such as Piero della Francesca, Benozzo Gozzoli, and Pinturicchio, the "Florentine Singer" is not an epigonal work that pays homage to a vanished era, but a successful attempt to draw vitality from the art of the past and thus give it new life. The effect of vitality is the core of Italian Renaissance art theory. In order to fulfill itself as art, art had to appear like nature. This naturalism also characterizes the "Florentine Singer". The young man appears to have been taken from life, which is reinforced by the momentary nature of his action. He has just struck a now fading chord. In addition, the natural appearance is enhanced by the detailed shaping of the figurative details, such as the laces with the slightly curved leather of the shoes, the belt buckle, or the ornamentation on the body of the lute. Even the fingernails are clearly defined. Unlike the Renaissance, however, the effect of liveliness here is not based on the "discovery" of nature and the human body, but primarily on the rediscovery of the art of the Quattrocento. The liveliness of the artwork is therefore at the same time a revitalization of this art, so that we can speak of a Renaissance of the Renaissance, just as the Pre-Raphaelites in England at the same time transferred the Quattrocento to contemporary art. Dubois takes on the most difficult of all subjects, the depiction of singing through silent sculpture. He was preceded in this by Luca della Robbia and Donatello with their pulpits of singers created in the 1430s in the Museo dell'Opera del Duomo in Florence. Compared to these works, the physiognomy of Dubois singer is far less animated, yet he also depicts singing in a convincing manner. He uses the whole body. He takes the ancient contrapposto, which was essential to Renaissance sculpture, and transforms the standing leg-playing posture into a late medieval S-swing, giving the body an elegant beauty and at the same time setting it in melodic motion. In the equally elegant finger position, the music is expressed in a much more literal way with the beating of the lute. Finally, the musicality of the sculpture culminates in the face with the mouth open to sing. Through the act of singing, which is a great challenge to the artistic will to depict perfect beauty, the gracefulness of the classical face is not diminished, but enhanced. Starting from the face with the singing mouth and the gaze absorbed by the sounds, the inner vitality spreads, giving the bronze sculpture an intense aura, enhanced by the music. Dubois transfers the beauty of the Renaissance to the musical, sublimating the visible sculpture to the invisible of music. He took up the challenge of transcending the Renaissance with the Renaissance, thus responding to the Querelle des Anciens et des Modernes, which arose at the end of the 17th century around the French Academy and remained virulent into the 19th century, in which antiquity was regarded either as an unattainable ideal or as a standard to be surpassed. With his work, Dubois proved that the Renaissance, which had championed the art of the ancients, could lead to a new renaissance of art. About the artist Paul Dubois' great-uncle was the famous French Baroque sculptor Jean-Baptiste Pigalle, in whose footsteps the talented great-nephew followed. When he debuted at the Paris Salon in 1858, he signed his work "Dubois-Pigalle". At his father's request, however, he first studied law before devoting himself to sculpture under the tutelage of François Christophe Armand Toussaint in 1856 and entering the École des Beaux-Arts in 1858. From 1859 to 1863, he lived in Rome and traveled to Naples and Florence. Inspired by Florentine art of the quattrocento, Dubois initiated a school-forming neo-Florentine style that combined the elegantly simple forms of youthful grace with a precise wealth of detail.Two purchases by the French state (“envois de Rome”) were made during his stay in Rome, which brought him recognition in Paris. After his return there, he quickly became an internationally sought-after artist. Dubois was also active as a creator of monuments. His most famous work is the equestrian statue of Joan of Arc (1896) on the forecourt of Reims Cathedral. He was also a sought-after portraitist who produced around 50 busts and - Dubois was also a passionate painter - around 100 portraits in oil. From 1873 to 1878 he was curator of the Museum du Luxembourg, in 1876 he became a member of the Institut de France and from 1878 to 1905 he was director of the École des Beaux-Arts. In 1865, Dubois was awarded the Paris Salon Medal of Honor for his “Florentine Singer”. In 1867 he became Chevalier, in 1874 Officier, in 1886 Commandeur of the Légion d'honneur, which awarded Dubois the Grande Croix in 1896. Selected Bibliography Stole, Elmar: Paul Dubois. In: Saur. Allgemeines Künstlerlexikon, vol. 30, Munich - Leipzig 2001, pp. 677-678. GERMAN VERSION Paul Dubois (1829 Nogent-sur-Seine - 1905 Paris), Florentinischer Sänger, 1865. Hellbraun patinierte Bronze mit gegossener runder Plinthe auf quadratischem Marmorsockel montiert (3,5 cm Höhe). Gesamthöhe 53 cm. Maße der Bronze: 49,5 cm (Höhe) x 20 cm (Länge) x 10 cm (Breite), Gewicht 5,6 kg. Auf der Plinthe mit „P.[aul] DUBOIS“ bezeichnet, auf „1865“ datiert, mit dem Gießereistempel „F. BARBEDIENNE FONDEUR“ und dem Signet „REDUCTION MECANIQUE A. COLLAS“ versehen. - Patina sehr vereinzelt nachgedunkelt, Laute mit Verlust eines Stimmwirbels, ansonsten ausgezeichnet erhalten. - Die Renaissance...

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